Landmarks Preservation Commission November 16, 2010, Designation List 435 LP-2390 PAUL RUDOLPH PENTHOUSE & APARTMENTS, 23 Beekman Place, Manhattan. Built late 1860s; facade altered 1929-30, Franklin Abbott, architect; penthouse and rear facade 1977-82, Paul Rudolph, architect. Landmark Site: Borough of Manhattan Tax Map Block 1361, Lot 118. On November 17, 2009, the Landmarks Preservation Commission held a hearing on the proposed designation of the Paul Rudolph Penthouse & Apartments and the proposed designation of the related Landmarks Site (Item No. 5). Three people spoke in favor of designation, including representatives of Docomomo New York/Tri-State, the Historic Districts Council, and the Paul Rudolph Foundation. Community Board No. 6 took no position at this time and a representative of the owner of the property requested that the public record remain open for a period of thirty days. Summary Paul Rudolph, one of the most celebrated and innovative American architects of the 20th century, was associated with 23 Beekman Place for more than 35 years, from 1961 until his death in 1997. Trained at the Harvard Graduate School of Design in the 1940s, Rudolph was a second-generation modernist who grew dissatisfied with functional aesthetics but remained committed to exploiting industrial materials to create structures of great formal complexity. From 1958 to 1965, he served as chairman of the Department of Architecture at Yale University, where he designed the well-known Art and Architecture Building, now called Paul Rudolph Hall. Rudolph began leasing an apartment on the fourth floor of 23 Beekman Place in 1961, which became his full-time residence in 1965. He purchased the building in 1976 and converted it into five apartments in 1977-82, adding a remarkable multi-story penthouse that suggests a work of architectonic sculpture. New York Times architecture critic Paul Goldberger praised the steel-and-concrete design, calling it “a handsome composition, a neat arrangement of geometric forms that is visually pleasing in itself and a welcome addition to Beekman Place’s already long list of architectural styles.”1 23 Beekman Place was also home to actress Katharine Cornell. Dubbed by drama critic Alexander Woolcott the “First Lady of the Theater,” she purchased the building with her husband, director-producer Guthrie McClintic, in 1922 and lived here until the early 1950s. Although the elaborate multi-level interiors have been modified by subsequent owners, the exterior is virtually unchanged. Rudolph completed only six buildings in New York City. 23 Beekman Place stands out as one of his most personal and experimental designs, drawing on themes that he explored throughout his prolific career, as well as anticipating aspects of his later work in Southeast Asia. DESCRIPTION AND ANALYSIS Beekman Place The Paul Rudolph Penthouse & Apartments is located on Beekman Place, a small residential enclave in the Turtle Bay section of Manhattan. Close to the East River, this street extends just two blocks, from Mitchell Place (aka East 49th Street), past 50th Street (aka Dunscombe Place), to 51st Street. Topography has always played a significant role in this neighborhood’s appeal. Because the numbered cross-town streets end slightly to the east, for more than a century Beekman Place developed in quasi-isolation, standing above and apart from early industrial activities in the area, and construction of the United Nations, which began in the mid-1940s. Furthermore, due to the street’s unique and secluded character, it attracted a continuously changing roster of prominent residents, from the late 19th century to the present day. Beekman Place was first opened in the mid-1860s. Most of the property in the area was owned by Samuel W. Dunscombe, a former minister. Four-story houses, faced with brownstone and classical detail, were soon erected on both sides of the new street, as well as a stone retaining wall to separate the rear yards from a narrow piece of river front property that James W. Beekman and family continued to own. These single-family houses were similar to those along 48th and 49th Streets, in what is now the Turtle Bay Gardens Historic District; each building was 20 feet wide, with a continuous metal or wood roof cornice, as well as a stoop rising to the first or parlor floor. Early residents included author Henry Harland, who produced popular novels under the pseudonym Sydney Luska. In Mrs. Peixada (1886) he described the street’s character: Beekman Place, as the reader may not know, is a short, chocolate-colored, unpretentious thoroughfare, perched on the eastern brink of Manhattan Island, and commanding a fine view of the river, of the penitentiary, and of the oil factories of Hunter’s Point.2 When Beekman sold the property, he promised that any future development would rise no higher than Dunscombe’s retaining wall – about 40 feet.3 He also promised that “nothing could be built there considered dangerous, noxious or offensive.”4 In 1914, the estate’s lawyers asked that these restrictions be nullified to allow improvements to the property. They claimed that commercial use was part of the “natural progress of the city,” but the New York State Supreme Court upheld the 1865 agreement, maintaining restrictions.5 Such litigation had a significant impact on Beekman Place; in addition to protecting views from the houses that faced east, these events brought the area increased attention and a large number of buildings were sold, substantially altered, or demolished. Residential Beekman Place Actress Katharine Cornell (1893-1974) and producer-director Guthrie McClintic (1893- 61) acquired 23 Beekman Place in 1922.6 They purchased the former town house from Charles Schmid, who acquired it from Maria L. Higgins in 1906. It seems likely that one of these owners removed the stoop and divided the structure into at least two apartments, which were occupied in the 1910s by Schmid and four children, and Roger Howson, who later became chief librarian at Columbia University, as well as his wife, three children, and a governess. Cornell and McClintic met in 1921 and married, forming a professional partnership that lasted four decades. Though relatively little is known about their private lives, they collaborated 2 on 28 theatrical productions, with Cornell in the lead roles. Critic Alexander Woollcott described her as the “First Lady of Theater” and she was often compared to such luminaries as Helen Hayes and Lynn Fontaine.7 McClintic rivaled Cornell in terms of his contribution to the New York stage, directing 94 theatrical productions, including both classic and contemporary works. Architect Franklin Abbott was hired to “remodel” the front elevation in 1929, as well as the interiors.8 Simple neo-classical details were added to the facade, as well as round-arched windows at the base and rusticated stonework. It was probably at this time that a service entrance was added to the right side of the ground story, as well as a metal canopy to keep water from collecting in the areaway. The basement was also extended at the rear of the property and walls were built around the garden. According to the United States Census of 1930, McClintic and Cornell occupied the building with two servants, a butler and cook, and possibly, a single tenant. A visitor in the 1940s described their home as “veritable theatrical museum,” with Cornell occupying the third floor, and McClintic, the fourth.9 They moved to Palisades, New York, in 1951 and the house was sold two years later, in 1953. In the 1920s, Beekman Place developed considerable cachet, attracting prosperous families and cultural figures, such as: John D. and Blanchette Rockefeller III at 1 Beekman Place (Sloan & Robertson, 1929); Noel Coward at 2 (1932); composer Irving Berlin at 17 (1929); landscape architect Ellen Shipman at 19-21 (Butler & Corse, 1920s); CBS executive William S. Paley at 29 (Eldridge Snyder, 1934); art critic and historian Walter Pach at 33 (redesigned by Harrie T. Lindeberg, 1925); and painter Max Ernst and Peggy Guggenheim at 39 (redesigned by John B. Thomas, 1925). Physical changes to the immediate neighborhood also contributed to an aura of exclusivity, starting with construction of the East River (now Franklin Delano Roosevelt) Drive in the 1940s. Built on landfill and pilings, this highway project eliminated commercial wharves and reduced local access to the waterfront. The city also acquired riparian rights to a section of the shoreline between 52nd and 53rd Streets and a pedestrian bridge was constructed above the highway, near 51st Street.10 This trend continued in the 1950s, with the completion of the United Nations Headquarters, which occupies a 17-acre site, south of 48th Street. Acquired from developer William Zeckendorf, a resident of 30 Beekman Place (Emery Roth, 1932), this large parcel had been occupied by tanneries, breweries, and slaughterhouses. The buildings at 860 and 870 United Nations Plaza, a mixed-use development with the apartment entrances facing 49th Street and Mitchell Place, were erected by the architects Harrison & Abramowitz in the mid- 1960s. Like “Beekman House,” a neo-Gothic style apartment building at 439 East 51st Street (Treanor & Fatio, 1925) that stands at the street’s north end, this pair of sleek, bronze-colored International Style towers blocks views south and provides a sense of enclosure. Paul Rudolph in New York City Paul Rudolph was an important late 20th century American architect, with a close association with New York City. He moved his practice here at the height of his career, during the mid 1960s, when his tenure as chairman of the Department of Architecture at Yale University was coming to a close and his firm was embarking on many ambitious projects, including a large number in the metropolitan area. Born in Kentucky in 1918, Rudolph received a Bachelor’s Degree in Architecture from the Alabama Polytechnic Institute, now Auburn University, in 1940.